[Rheumatism and art : Max Slevogt. The bon viveur and artist plagued by gout]. / Rheuma und Kunst : Max Slevogt. Von Gicht geplagter Genussmensch und Künstler.

The painter Max Slevogt (1868-1932), together with Lovis Corinth and Max Liebermann, was one of the most important representatives of German impressionism. Slevogt, a gourmet who appreciated fine food and good wines, suffered from acute recurrent gouty arthritis starting at the age of 27 years. His medical history is reconstructed for the first time from the published and previously unpublished letters of his doctor János Plesch. After gout attacks at longer intervals in the first years of the disease, the attacks increased and from 1917 onwards were manifested in 1-2-year intervals with no evidence of a chronic gouty arthritis. Many of his attacks of gouty arthritis are illustrated by drawings that document the involvement of the feet and knees. Slevogt usually treated the gout attacks with bed rest, which prevented him from painting. He used a drug treatment with Colchicum only rarely. Dietary measures, a health cure for weight loss and multiple spa treatments in the last years of life at annual intervals, were among the other treatment modalities. The gout and heavy smoking resulted in coronary heart disease from which he died shortly before his 65th birthday.

Renoir y la artritis reumatoidea / Renoir and rheumatoid arthritis

Renoir constituye uno de los pintores más representativos del movimiento impresionista. Su amplia producción artística centrada en la figura humana muestra su habilidad con el pincel que no se vio limitada por el desarrollo de la Artritis Reumatoide (AR) que lo aquejaba. En esta reseña histórica se repasan aspectos de la vida de Renoir relacionados con la historia natural de la enfermedad y sus estrategias para mitigar el dolor y la limitación funcional que le permitieron continuar produciendo importantes obras de arte

Renoir is one of the most representative painters of the impressionist movement. His extensive artistic production centered on the human figure shows his ability with the brush that was not limited by the development of Rheumatoid Arthritis (RA) that afflicted him. In this historical review, we inspect aspects of Renoir's life related to the natural history of the disease and its strategies to mitigate pain and functional limitation, which allowed him to continue producing important works of art

Modernismo, mulher e psicanálise: Adelheid Koch, Virgínia Bicudo, Lygia Amaral e Judith Andreucci: pioneiras da psicanálise em São Paulo / Modernism, women and psychoanalysis

A autora retraça o começo da história da psicanálise em São Paulo, entrelaçada à literatura desde 1926, quando Durval Marcondes publica um artigo no Klaxon sobre crítica literária baseada na psicanálise, e é elogiado por Freud, que em 1928 dispõe-se a ler o primeiro número da Revista Brasileira de Psicanálise (que também publica dois artigos sobre literatura). Em 1936, a pedido de Freud, Jones convida Adelheid Koch, membro associado do Berlin Psychoanalytic Institute, para vir ao Brasil analisar futuros analistas. A partir de entrevistas com Eleonore, filha de Adelheid, e com Virgínia Bicudo, Lygia Amaral e Judith Andreucci, a autora relata o início da formação psicanalítica, quando Virgínia torna-se a primeira candidata latino-americana, ao deitar-se no divã de Adelheid, em outubro de 1937. Essas pioneiras da psicanálise da SBPSP, mulheres destemidas, têm sempre, em suas vicissitudes, Durval Marcondes como companheiro inabalável.

The author traces the early history of psychoanalysis in São Paulo, and shows how it was interwoven with literature, when in 1926 Durval Marcondes publishes an article in "Klaxon" about literary criticism based on psychoanalysis, which is praised by Freud, who, in 1928, reads the first issue of the Revista Brasileira de Psicanálise (which also includes two articles on literature). In 1936 at Freud's request, Jones invites Adelheid Koch, an associate member of the Berlin Psychoanalytic Institute, to come to Brazil to analyse future analysts. Through interviews with Eleonore (Adelheid's daughter), Virgínia Bicudo, Lygia Amaral and Judith Andreucci, the author recounts the beginnings of psychoanalytical training, when Virginia lies on Adelheid's couch and becomes the first Latin American candidate in October 1937. These brave women, pioneers of the SBPSP, in their vicissitudes, always counted on Durval Marcondes as a steadfast companion.

Personajes: notas sobre Deleuze y la novela modernista / Characters: notes on Deleuze and modernist novel

Las contribuciones de Deleuze revelan nuevas dimensiones en la literatura modernista. Para muchos escritores modernistas, lo que la conciencia puede captar es menos relevante que lo que afecta al cuerpo; esta convicción se plasma en la aparición de personajes difíciles de clasificar. La primera sección del ensayo explora la relación entre acontecimiento y personaje; la segunda indaga las reflexiones de Nietzsche sobre Zaratustra; la tercera está dedicada a la noción de personaje original en Melville; la cuarta presenta la idea de los personajes como fuerzas impersonales en Lawrence; y la última la concepción del personaje ausente en Woolf.(AU)

Deleuze's contributions reveal new dimensions in modernist literature. For many Modernist writers, what conscience can capture is less relevant than what affects the body; this conviction gives birth to the multiplication of characters difficult to classify. The essay's first section explores the relationships between "event" and "character"; the second one traces Nietzsche's reflections on Zarathustra; the third section is devoted to the notion of original character in Melville; the fourth section presents some of Lawrence's ideas about characters as governed by impersonal forces; and the last section focuses on Virginia Woolf's views of the absent character.(AU)

Personajes: notas sobre Deleuze y la novela modernista / Characters: notes on Deleuze and modernist novel

Las contribuciones de Deleuze revelan nuevas dimensiones en la literatura modernista. Para muchos escritores modernistas, lo que la conciencia puede captar es menos relevante que lo que afecta al cuerpo; esta convicción se plasma en la aparición de personajes difíciles de clasificar. La primera sección del ensayo explora la relación entre acontecimiento y personaje; la segunda indaga las reflexiones de Nietzsche sobre Zaratustra; la tercera está dedicada a la noción de personaje original en Melville; la cuarta presenta la idea de los personajes como fuerzas impersonales en Lawrence; y la última la concepción del personaje ausente en Woolf.

Deleuze's contributions reveal new dimensions in modernist literature. For many Modernist writers, what conscience can capture is less relevant than what affects the body; this conviction gives birth to the multiplication of characters difficult to classify. The essay's first section explores the relationships between "event" and "character"; the second one traces Nietzsche's reflections on Zarathustra; the third section is devoted to the notion of original character in Melville; the fourth section presents some of Lawrence's ideas about characters as governed by impersonal forces; and the last section focuses on Virginia Woolf's views of the absent character.

A construção do eu na modernidade: do projeto romântico ao impressionismo em Freud / The construction of the self in modernity: romanticism and impressionism in Freud

O sistema cartesiano fornece as bases para o Romantismo produzir um novo objeto: o 'eu' simultaneamente interioridade e alteridade. Tal invenção incide sobre os campos científico, político, social, artístico e produz consequências éticas e estéticas que perduram no século XXI. Pretende-se, aqui, propor uma aproximação do estilo de Freud com o impressionismo, sem deixar de reconhecer, no pensamento literário romântico, o ponto de inflexão na produção de uma nova racionalidade. Apontar a emergência do eu, tal como (re)apresentado por Freud, implica reconhecê-lo como tributário do ideal romântico. Ao mesmo tempo, tenta-se destacar a virada epistemológica que Freud imprime ao conceito numa proposta ainda hoje subversiva.

The Cartesian system provides the fundamental principles for Romanticism to produce a new object: the 'self', simultaneously as interiority and alterity. This invention falls on the scientific, political, social, and artistic fields that produce ethical and aesthetic consequences that endured in the 21st century. The aim of this essay is to offer an approximation between Freud's style and Impressionism, while recognizing the point of inflection in the production of a new rationality in the literary romantic thought. Pointing to the emergence of the self, as (re)presented by Freud means to recognize it as a tributary of the romantic ideal. At the same time, it highlights the epistemological change that Freud imprints on this concept in a proposal that has remained subversive until today.

Ciência e arte: relações improváveis? / Science and art: unlikely relations?

Este artigo discute as relações entre ciência e arte, principalmente entre física e pintura, com o objetivo de apresentar uma abordagem cultural para a ciência. Dessa forma, entendemos que a compreensão dos conteúdos da ciência torna-se mais significativa. Abordamos diferentes momentos da história desde a revolução científica até o século XX. As relações aqui salientadas não buscam uma relação causal entre ciência e arte, mas sim uma visão mais significativa do que é o processo de construção do conhecimento. Assim, a ciência se desnuda para nós como parte da cultura e pode nos ajudar a compreender melhor o processo histórico que nos trouxe até aqui.

With the goal of presenting a cultural approach to science, the article discusses relations between science and art, especially between physics and painting. From this standpoint, we can see how understanding the substance of science becomes more important. Different moments in history are examined, from the scientific revolution down through the twentieth century. The relations highlighted herein are not chosen in an effort to undercover a causal relation between science and art but to arrive at a more meaningful understanding of how knowledge is constructed. Science is thus revealed to be part of culture, which can help us better understand the historical process through which we have come to this point.